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MH-238 Clue To Kalo - One Way, It's Every Way  Written and recorded in Adelaide, Australia during a two-year period of great personal change, and finished on a four-month adventure in Brooklyn, USA, One Way, It's Every Way is Mark Mitchell's second record as Clue To Kalo. Designed as a musical palindrome, the album is an unabashedly ambitious, surprisingly celebratory meditation on death. Instrumental contributions from old and new friends, as well as elements of classic folk, lo-fi rock, and bedroom electronica, are all taken out of context and remade as a ten track set thick with overloaded melodies, multi-part harmonies, and literate language. One Way, It's Every Way is a stunning development for Clue To Kalo both musically and lyrically. |
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| Reviews Summary |
| A serious contender for 2005's best record - Scissorkick / Extraordinarily unassuming, gorgeous release - Stylus / A master of counterintuitive pop arrangements - Chord / Will pull at your heartstrings and carry you back to nostalgic places in the best of ways - Metro.Pop |
| Reviews | |
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| Notes of new-breed singer/songwriters color the sophomore release from Clue To Kalo, nom de plume of Australian folkie Mark Mitchell. The singer's measured tenor presides over this family of gently moving, freeform pop songs, which grow slowly from a base of tuneful acoustics and introspective electronica into a diffuse vision of psych-tinged, prismatic pop. While Mitchell's agreeable delivery recalls a less-virginal version of Sufjan Stevens' boyish vocals, better touchstones for his fractured arrangements are two of the finer, if lesser-known, records of 2004: A Sea As A Shore, by the Impossible Shapes/John Wilkes Booze offshoot Horns of Happiness, and Chemical Friends, solo debut from Film School collaborator Nyles Lannon. One Way lounges comfortably between the two; “The Just Is Enough” graphs its gurgling piano undercurrent directly from the former, while the softly twisting melodies of “Seconds When It's Minutes” are as obliquely pretty as anything off the latter. Mitchell loses his edge momentarily when he drops the cloak of weirdness from “As Tommy Fixes Fights,” exposing the song as an aimlessly wordy impression of Death Cab For Cutie's Ben Gibbard. But bridging catchier side A with dreamier side B, “Ignore The Forest Floor” restores unpredictability with twinkling guitars and Mitchell's weightless singing. It proves his promising Clue To Kalo project is most affecting whilst keeping its feet off the ground, and its head high up in the clouds. - Satellite Magazine |
1XLP/Out Of Print